I feel this is equally important and crucial for dancers to learn and know as well. Technical training and musicality go hand in hand. A deeper appreciation and understanding of music and its’ connection to dance from the standpoint of physical expression, rhythmic intent and the possibilities of interpreting movement supported by a melodic structure is integral to students training as performers and choreographers. This is a life long process that changes over time, and plays a different role with varying degrees of prominence in the life of an artist as careers progress.

Developing a strong sense of musicality can free a dancer from relying solely on counts. It can also expand physical range, add dimension, breathe and nuance to phrase work. Having the knowledge and confidence through a heighten sense of musicality to manipulate space and time will allow dancers to become fearless movers in any form.  Delving into pulse, tempo and rhythm through articulations of the body are aspects of time that I have been paying closer attention to in technique classes. Using the classroom as a laboratory through which a keen awareness of melody, harmony, texture and timbre will also be explored in center, across the floor and phrase work. Investigation into these additional aspects of sound will add sophistication to their palates.  Beginning this process of imbuing musical elements qualitatively will also help broaden artistic sensibilities, increase dexterity of personal movement vernacular and enhance performance skills.

This semester marks the first offering of an intermediate level of Pilates Mat class, which is also open to the Institute. I felt that having the option of a somatic practice for students on Friday afternoon would be beneficial on many levels. My intention and approach to the class was for it to be a restorative and therapeutic for dance students and non-métier participants. Having a class to help lengthen muscles, reconnect to ones core strength and realign the body after a week of rigorous training would be very helpful. The class also gives dancers and Institute students the opportunity to de-stress, refocus, integrate and optimized a weeks training or study regardless of métier. So far the response from the class has been very positive. Students seem happier, feel revitalized, and are ready to take on their all-important social obligations of the weekend.

What skills do I need to become a good dancer? Knowing that my opinion is subjective but because this student earnestly wanted to know, I felt compelled to answer. Here is a synopsis of what came off the top of my head…

Acquiring tools that will help you become a better dancer might begin with knowing you have a true, burning passion for movement and physical expression. Having a realistic healthy approach and outlook on dance and your talents. Determination, dedication, discipline, tenacity, savvy, drive, patience and a professional attitude toward your training are definitely critical to creating the skill set and qualities you will need.

A sense of humor, not to take it (dance) and yourself so seriously, also wouldn’t hurt from time to time. There will be moments when you will have to step back, do some self-inventory, and take a hard look at the reality of what you are trying to accomplish. Try to see the bigger picture (how and where you fit into it…) from an objective perspective, with a discerning candid eye. Careers evolve in dance by a combination of luck, happenstance, preparation, fate, and talent but not in any specific order, time frame, rhyme or reason.

Work diligently on things that challenge you both physically and artistically, devoting time to making them better.

Be accepting of your limitations while not dwelling on them. Always nurture and honor your own special talents and individuality.

Never compete with other dancers.

Support talent in others and watch your contemporaries because you can learn and grow from what you learn from them.

Strive to be good malleable clay and a courageous foil for teachers and choreographers. Be an expressive dancer who gives physically, emotionally, and intellectually to other artists as well as an audience.

Learn to keenly decipher physical information through the an integrated construct of all your training thus far, so your contemporary work supports your classical training and vice versa.

Always have respect for teachers and the art form they impart to you. Exhaust the possibilities and parameters of your training over years of trial and error before you discard what you deem invalid, not useful, or nonessential. Training requires discipline and that process takes years to learn, develop and appreciate fully. You need a broad frame of reference to be successful in a field that is constantly changing and evolving.

Be compassionate with yourself about your training and the many manifestations and incarnations you will go through as an artist!

Know that your path as a dance artist will be filled with successes and disappointments. Take them all as best you can, in stride and in equal measure. Nothing is owed or promised to you.

Try to maintain a modicum of humility and gracious nature about your talent and work. Developing a sense of entitlement is a huge step in the wrong direction.

Know dance history. It is your heritage as a dance artist. Be mindful of all that has come before you in all dance idioms and the lineage of dance you represent. Be a contributing part of this continuum of dance. Add your unique newness.

The dance world is a small, be mindful of how you present yourself and what you put out there…you eventually reap what you sow!!!

It wouldn’t hurt to have a great head shot and get a good agent!

And know:

There are no new steps and you are only as good as your last plie…

NOW GO! Power the Universe!!!

I have already begun to see a subtle shift in how our students approach taking class when the classes are smaller. There is notable evidence of an increased concentration, as well as an uptick of mental and physical engagement. There is also a porousness that naturally occurs, which allows me to gage where I can take and direct the lesson plan for that day more effectively.

As an instructor, I find myself being even more animated (than normal) and energized (even without coffee) by a more constructive mindset of our students, due to smaller class size. I am able to hopefully be more thorough, as it a little easier to get around to almost all the students in class. I can engage more personally with the students as professional dance artists. The interaction and response between student, instructor and accompanist has been invigorating. I enjoy being able to have casual instructive exchange with more students and tend to individual needs. I found that I could be more specific to a particular aspect of a dancers training.

This semester marks the first offering of an intermediate level of Pilates Mat class, which is also open to the Institute. I felt that having the option of a somatic practice for students on Friday afternoon would be beneficial on many levels.

My intention and approach to the class was for it to be a restorative and therapeutic for dance students and non-métier participants. Having a class to help lengthen muscles, reconnect to ones core strength and realign the body after a week of rigorous training would be very helpful. The class also gives dancers and Institute students the opportunity to de-stress, refocus, integrate and optimized a weeks training or study regardless of métier.

So far the response from the class has been very positive. Students seem happier, feel revitalized, and are ready to take on their all-important social obligations of the weekend.

I feel this is equally important and crucial for dancers to learn and know as well. Technical training and musicality go hand in hand. A deeper appreciation and understanding of music and its’ connection to dance from the standpoint of physical expression, rhythmic intent and the possibilities of interpreting movement supported by a melodic structure is integral to students training as performers and choreographers. This is a life ling process that changes over time, and plays a different role with varying degrees of prominence in the life of an artist as careers progress.

Developing a strong sense of musicality can free a dancer from relying solely on counts. It can also expand physical range, add dimension, breathe and nuance to phrase work. Having the knowledge and confidence through a heightened sense of musicality to manipulate space and time will allow dancers to become fearless movers in any form. Delving into pulse, tempo and rhythm through articulations of the body are aspects of time that I have been paying closer attention to in technique classes. Using the classroom as a laboratory through which a keen awareness of melody, harmony, texture and timbre will also be explored in center, across the floor and phrase work. Investigation into these additional aspects of sound will add sophistication to their palates. Beginning this process of imbuing musical elements qualitatively will also help broaden artistic sensibilities, increase dexterity of personal movement vernacular and enhance performance skills.

Back Stage                                May 2011

~Dance Article

California Institute of the Arts                         May 2009

Sharon Disney Lund School of Dance /News Letter

~Welcome Andre Tyson

Dancer Magazine                                March 2005

~An Interview with Professor/Dancer Andre Tyson

Dance Magazine                                December 1991

~Ailey Men

Community Service

IABD /Los Angeles, CA                             Master Class 2011

Lula Washington Dance Theater /Los Angeles, CA                Master Class 09-10

Immersion Dance Workshop /Milwaukee, WI                    Master Class 2007

St. Joan Antida High School /Milwaukee, WI                 Master Class 2001

Marquette High School /Milwaukee, WI                 Master Class 1999

Milwaukee High School of the Arts /Milwaukee, WI          Master Class 1998-00

Lincoln Middle School /Milwaukee, WI                     Master Class 1998

Roosevelt Middle School /Milwaukee, WI                 Master Class 1998

Paterson Public Schools /Paterson, NJ                      Residency 1994

Boston Public Schools / Boston, MA                        Residency 1985-1993

Grants /Awards

California Institute of the Arts /Sharon Disney Lund                 Grant Recipient 08-11

School of Dance    

University of Wisconsin-Milwaukee /Peck School of the Arts            Grant Recipient 2005-2007

Department of Dance

Faculty Development Grant /Milwaukee, WI            

University of Wisconsin-Milwaukee /Peck School of the Arts            Grant Recipient 2003

Department of Dance

Arts and Humanities Award /Milwaukee, WI            

Alvin Ailey Dancers Resource Fund /New York, NY                Grant Recipient 2000

University of Wisconsin-Milwaukee /Peck School of the Arts            Grant Recipient 1999

Department of Dance

Faculty Development Grant /Milwaukee, WI            

Carlisle Project /Carlisle, PA                             Choreographer 1994

New Jersey Fellowship Grant /Trenton, NJ                  Grant Recipient 1982

Appointments

City Ballet Theatre /Milwaukee, WI                         Artistic Coordinator 2002

Ailey Camp Berkeley /Berkeley, CA (position offered)             Artistic Director 2001

Ko-Thi Dance Company /Milwaukee, WI                  Artistic Consultant 2001

City Ballet Theatre /Milwaukee, WI                          Rehearsal Director 99-00

Laban Center / Transitions Dance Company                 Rehearsal Director 1993

London, England (position offered)

Premiere Dance Theatre /Montclair, New Jersey              Artistic Director 1993

University Service

California Institute of the Arts /Sharon Disney Lund School of Dance             Provost Committee 2011

California Institute of the Arts /Sharon Disney Lund School of Dance             Search Committee 2011

California Institute of the Arts /Sharon Disney Lund School of Dance             Admission Recruiting 08-11

California Institute of the Arts /Sharon Disney Lund School of Dance          Feldstarke Committee 2009

California Institute of the Arts /Sharon Disney Lund School of Dance          Fulbright Committee 09, 10

University of Wisconsin-Milwaukee                        Committee Member 07, 08

Awards and Recognition Committee

Peck School of the Arts Department of Dance                    Committee Member 07

Policies and Procedures Sub-Committee

Peck School of the Arts Department of Dance                    Artistic Director/

Summer Dances 2006

Peck School of the Arts Department of Dance                    ACDF

Faculty Rep 04-05

Peck School of the Arts Department of Dance         Accompanists Supervisor 02-07

Peck School of the Arts Department of Dance                    Committee Member 03-07

Executive Committee

University of Wisconsin-Milwaukee /University Relations Committee         Committee Member 00-02

University of Wisconsin-Milwaukee /Athletic Board                 Committee Member 00-02